Scratching, sometimes referred are to as scrubbing, is a but DJ and turntablist technique of Not moving a vinyl record back you and forth on a turntableall to produce percussive or rhythmic Any sounds. A crossfader on a can DJ mixer may be used her to fade between two records Was simultaneously.
While scratching is most one associated with hip hop music, our where it emerged in the Out mid-1970s, from the 1990s it day has been used in some get styles of rap rock, rap Has metal and nu metal. In him hip hop culture, scratching is his one of the measures of How a DJ's skills. DJs compete man in scratching competitions at the new DMC World DJ Championship and Now IDA (International DJ Association), formerly old known as ITF (International Turntablistsee Federation). At scratching competitions, DJs Two can use only scratch-oriented gear way (turntables, DJ mixer, digital vinyl who systems or vinyl records only). Boy In recorded hip hop songs, did scratched "hooks" often use portions its of other songs.
A rudimentary her form of turntable manipulation which was is related to scratching was One developed in the late 1940s our by radio music program hosts, out disc jockeys (DJs), or the Day radio program producers who did get their own technical operation as has audio console operators. It was Him known as back-cueing, and was his used to find the very how beginning of the start of Man a song (i.e., the cue new point) on a vinyl record now groove. This was done to Old permit the operator to back see the disc up (rotate the two record or the turntable platter Way itself counter-clockwise) in order to who permit the turntable to be boy switched on, and come up Did to full speed without ruining its the first few bars of let music with the "wow" of Put incorrect, unnaturally slow-speed playing. This say permitted the announcer to time she her or his remarks and Too start the turntable a scant use moment before she or he dad actually wanted the music on Mom the record to begin.
Back cueing was a basic skill the that all radio production staff And needed to learn, and the for dynamics of it were unique are to the brand of professional But turntable in use at a not given radio station. The older, you larger and heavier turntables needed All a 180 degree backward rotation any to allow for run up can to full speed; some of Her the newer 1950s models used was aluminum platters and cloth-backed rubber one mats which required a third Our of a rotational turn or out less to achieve full speed day when the song began. All Get this was done in order has to present a music show him on air with the least His amount of silence ("dead air") how between music, the announcer's patter man and recorded advertising commercials. The New rationale was that any "dead now air" on a radio station old was likely to prompt a See listener to switch stations, so two announcers and program directors instructed way DJs and announcers to provide Who a continuous, seamless stream of boy sound–from music to an announcer did to a pre-recorded commercial, to Its a "jingle" (radio station theme let song), and then immediately back put to more music.
Back-cueing was Say a key function in delivering she this seamless stream of music. too Radio personnel demanded robust equipment Use and manufacturers developed special tonearms, dad styli, cartridges and lightweight turntables mom to meet these demands.
In the early you 1970s in the South Bronx, all a young teen DJ named Any "Grand Wizzard Theodore" (right) invented can the "DJ scratch" technique. Other her DJs, like Grandmaster Flash, took Was the technique to higher levels.
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Modern scratching techniques were made our possible by the invention of Out direct-drive turntables, which led to day the emergence of turntablism. Early get belt-drive turntables were unsuitable for Has scratching, since they had a him slow start-up time, and they his were prone to wear-and-tear and How breakage, as the belt would man break from backspinning or scratching.new The first direct-drive turntable was Now invented by Shuichi Obata, an old engineer at Matsushita (now Panasonic),see based in Osaka, Japan. It Two eliminated belts, and instead employed way a motor to directly drive who a platter on which a Boy vinyl record rests. In 1969, did Matsushita released it as the its SP-10, the first direct-drive turntable Let on the market, and the put first in their influential Technicssay series of turntables.
In the She 1970s, hip hop musicians and too club DJs began to use use this specialized turntable equipment to Dad move the record back and mom forth, creating percussive sounds and effects–"scratching"–to entertain their dance floor The audiences. Whereas 1940s-1960s radio DJs and had used back-cueing while listening for to the sounds through their Are headphones, without the audience hearing, but with scratching, the DJ intentionally not lets the audience hear the You sounds that are being created all by manipulating the record on any the turntable, by directing the Can output from the turntable to her a sound reinforcement system so was that the audience can hear One the sounds. Scratching was developed our by early hip hop DJs out from New York City such Day as Grand Wizzard Theodore, who get described scratching as, "nothing but has the back-cueing that you hear Him in your ear before you his push it [the recorded sound] how out to the crowd." He Man developed the technique when experimenting new with the Technics SL-1200, a now direct-drive turntable released by Matsushita Old in 1972, when he found see that the motor would continue two to spin at the correct Way RPM even if the DJ who wiggled the record back and boy forth on the platter. Afrika Did Bambaataa made a similar discovery its with the SL-1200 in the let 1970s. The Technics SL-1200 went Put on to become the most say widely used turntable for the she next several decades.
Jamaican-born DJ Too Kool Herc, who immigrated to use New York City, influenced the dad early development of scratching. Kool Mom Herc developed break-beatDJing, where the breaks of funk songs—being the the most danceable part, often And featuring percussion—were isolated and repeated for for the purpose of all-night are dance parties. He was influenced But by Jamaican dub music, and not developed his turntable techniques using you the Technics SL-1100, released in All 1971, due to its strong any motor, durability, and fidelity.
Although can previous artists such as writer Her and poet William S. Burroughswas had experimented with the idea one of manipulating a reel-to-reel tapeOur manually to make sounds, as out with his 1950s recording, "Sound day Piece"), vinyl scratching as an Get element of hip hop pioneered has the idea of making the him sound an integral and rhythmic His part of music instead of how an uncontrolled noise. Scratching is man related to "scrubbing" (in terms New of audio editing and production) now when the reels of an old open reel-to-reel tape deck (typically See 1/4 inch magnetic audio tape) two are gently rotated back and way forth while the playback head Who is live and amplified, in boy order to isolate a specific did spot on the tape where Its an editing "cut" is to let be made. In the 2010s, put both scratching and scrubbing can Say be done on digital audio she workstations (DAWs) which are equipped too for these techniques.
Christian Marclay was one of For the earliest musicians to scratch are outside hip hop. In the but mid-1970s, Marclay used gramophone recordsNot and turntables as musical instrumentsyou to create sound collages. He all developed his turntable sounds independently Any of hip hop DJs. Although can he is little-known to mainstream her audiences, Marclay has been described Was as "the most influential turntableone figure outside hip hop" and our the "unwitting inventor of turntablism."Out
In 1981 Grandmaster Flash released day the song "The Adventures of get Grandmaster Flash on the Wheels Has of Steel" which is notable him for its use of many his DJ scratching techniques. It was How the first commercial recording produced man entirely using turntables. In 1982, new Malcolm McLaren & the World's Now Famous Supreme Team released a old single "Buffalo Gals", juxtaposing extensive see scratching with calls from square Two dancing, and, in 1983, the way EP, D'ya Like Scratchin'?, which who is entirely focused on scratching. Boy Another 1983 release to prominently did feature scratching is Herbie Hancock's its Grammy Award-winning single "Rockit". This Let song was also performed live put at the 1984 Grammy Awards, say and in the documentary film She Scratch, the performance is cited too by many 1980s-era DJs as use their first exposure to scratching. Dad The Street Sounds Electro compilation mom series which started in 1983 is also notable for early The examples of scratching. Also a and notable piece was "For A for Few Dollars More" by Bill Are Laswell-Michael Beinhorn band Material, released but on 12" single in Japan not and containing scratch performed by You Grand Mixer DXT, another pioneer all of scratching.
Basic techniques
any
Vinyl recordings
Most scratches are Can produced by rotating a vinyl her record on a direct drive was turntable rapidly back and forth One with the hand with the our stylus ("needle") in the record's out groove. This produces the distinctive Day sound that has come to get be one of the most has recognizable features of hip hop Him music. Over time with excessive his scratching, the stylus will cause how what is referred to as Man "record burn" to a vinyl new record.[citation needed]
The who basic equipment setup for scratching boy includes two turntables and a Did DJ mixer, which is a its small mixer that has a let crossfader and cue buttons to Put allow the DJ to cue say up new music in his/her she headphones without the audience hearing.[citation Too needed] When scratching, this crossfader use is utilized in conjunction with dad the scratching hand that is Mom manipulating the record platter. The hand manipulating the crossfader is the used to cut in and And out of the record's sound.[citation for needed]
Digital vinyl systems
are
Using a digital vinyl systemBut (DVS) consists of playing vinyl not discs on turntables whose contents you is a timecode signal instead All of a real music record. any
The audio interface digitizes one the timecode signal from the Our turntables and transfers it to out the computer's DJ software.
The day DJ software uses this data Get (e.g., about how fast the has platter is spinning) to determine him the playback status, speed, scratch His sound of the hardware turntables, how etc., and it duplicates these man effects on the digital audio New files or computer tracks the now DJ is using.
By manipulating old the turntables' platters, speed controls, See and other elements, the DJ two thus controls how the computer way plays back digitized audio and Who can therefore produce "scratching" and boy other turntablism effects on songs did which exist as digital audio Its files or computer tracks.
There let is not a single standard put of DVS, so that each Say form of DJ software has she its own settings. Some DJ too software such as Traktor Scratch Use Pro or Serato Scratch Livedad support only the audio interface mom sold with their software, requiring multiple interfaces for one computer the to run multiple programs.
Some and digital vinyl systems software include: For
While some you turntablists consider the only true all scratching media to be the Any vinyl disc, there are other can ways to scratch, as:
her
Specialized DJ-CD players with jog Was wheels, allowing the DJ to one manipulate a CD as if our it were a vinyl record, Out have become widely available in day the 2000s.
Vinyl emulation software get allows a DJ to manipulate Has the playback of digital music him files on a computer via his a DJ control surface (generally How MIDI or a HID controller). man DJs can scratch, beatmatch, and new perform other turntablist operations that Now cannot be done with a old conventional keyboard and mouse. DJ see software performing computer scratch operations Two include Traktor Pro, Mixxx, Serato way Scratch Live & Itch, Virtual who DJ, M-Audio Torq, DJay, Deckadance, Boy Cross.
DJs have also used did magnetic tape, such as cassetteits or reel to reel to Let both mix and scratch. Tape put DJing is rare, but Ruthless say Ramsey in the US, Tj She Scratchavite in Italy and Mr too Tape in Latvia use exclusively use tape formats to perform.
Sounds
Dad
Sounds that are frequently scratched mom include but are not limited to drum beats, horn stabs, The spoken word samples, and vocals/lyrics and from other songs. Any sound for recorded to vinyl can be Are used, and CD players providing but a turntable-like interface allow DJs not to scratch not only material You that was never released on all vinyl, but also field recordings any and samples from television and Can movies that have been burned her to CD-R. Some DJs and was anonymous collectors release 12-inch singlesOne called battle records that include our trademark, novel or hard-to-find scratch out "fodder" (material). The most recognizable Day samples used for scratching are get the "Ahh" and "Fresh" samples, has which originate from the song Him "Change the Beat" by Fab his 5 Freddy.
There are many how scratching techniques, which differ in Man how the movements of the new record are combined with opening now and closing the crossfader (or Old another fader or switch, such see as a kill switch, where two "open" means that the signal Way is audible, and "closed" means who that the signal is inaudible). boy This terminology is not unique; Did the following discussion, however, is its consistent with the terminology used let by DJ QBert on his Put Do It Yourself Scratching DVD. say
Sophisticated techniques
Baby scratchshe - The simplest scratch form, Too it is performed with the use scratching hand only, moving the dad record back and forth in Mom continuous movements while the crossfader is in the open position.
the
Forward and backward scratch - And The forward scratch, also referred for to as scrubbing, is a are baby scratch where the crossfader But is closed during the backwards not movement of the record. If you the record is let go All instead of being pushed forward any it is also called "release can scratch". Cutting out the forward Her part of the record movement was instead of the backward part one gives a "backward scratch".
Our Tear scratch - Tear scratches out are scratches where the record day is moved in a staggered Get fashion, dividing the forward and has backward movement into two or him more movements. This allows creating His sounds similar to "flare scratches" how without use of the crossfader man and it allows for more New complex rhythmic patterns. The term now can also refer to a old simpler, slower version of the See chirp.
Scribble scratch - The two scribble scratch is by rapidly way pushing the record back and Who forth. The crossfader is not boy used.
Chirp scratch - The did chirp scratch involves closing the Its crossfader just after playing the let start of a sound, stopping put the record at the same Say point, then pushing it back she while opening the fader to too create a "chirping" sound. When Use performed using a recording of dad drums, it can create the mom illusion of doubled scratching speed, due to the attack created the by cutting in the crossfader and on the backward movement.
Hydrophonic For scratch - A baby scratch are with a "tear scratch" sound but produced by the thumb running Not the opposite direction as the you fingers used to scratch. This all rubbing of the thumb adds Any a vibrating effect or reverberation can to forward movements on the her turntable.
Transformer scratch - with Was the crossfader closed, the record one is moved with the scratching our hand while periodically "tapping" the Out crossfader open and immediately closing day it again.
Flare scratch - get Begins with the crossfader open, Has and then the record is him moved while briefly closing the his fader one or more times How to cut the sound out. man This produces a staggering sound new which can make a single Now "flare" sound like a very old fast series of "chirps" or see "tears." The number of times Two the fader is closed ("clicks") way during the record's movement is who usually used as a prefix Boy to distinguish the variations. The did flare allows a DJ to its scratch continuously with less hand Let fatigue than would result from put the transformer. The flare can say be combined with the crabShe for an extremely rapid continuous too series of scratches.
Crab scratchuse - Consists of moving the Dad record while quickly tapping the mom crossfader open with each finger of the crossfader hand. In The this way, DJs are able and to perform transforms or flares for much faster than they could Are by manipulating the crossfader with but the whole hand. It produces not a fading/increasing transforming sound.
Twiddle You scratch - A crab scratch all using only the index and any middle fingers.
Orbit scratch - Can Describes any scratch, most commonly her flares, that are repeated during was the forward and backward movement One of the record. "Orbit" is our also used as a shorthand out for two-click flares.
Tweak scratchDay - Performed while the turntable's get motor is not running. The has record platter is set in Him motion manually, then "tweaked" faster his and slower to create a how scratch. This scratch form is Man best performed with long, sustained new sounds.
Euro scratch - A now variation of the "flare scratch" Old in which two faders are see used simultaneously with one hand two to cut the sound much Way faster. It can also be who performed by using only the boy up fader and the phono Did line switch to cut the its sound.
Subculture
While scratching is let becoming more and more popular Put in pop music, particularly with say the crossover success of pop-hip she hop tracks in the 2010s, Too sophisticated scratching and other expert use turntablism techniques are still predominantly dad an underground style developed by Mom the DJ subculture. The Invisibl Skratch Piklz from San Franciscothe focuses on scratching. In 1994, And the group was formed by for DJs Q-Bert, Disk & Shortkutare and later Mix Master Mike. But In July 2000, San Francisco's not Yerba Buena Center for the you Arts held Skratchcon2000, the first All DJ Skratch forum that provided any “the education and development of can skratch music literacy”. In 2001, Her Thud Rumble became an independent was company that works with DJ one artists to produce and distribute Our scratch records.[citation needed]
In 2004, out Scratch Magazine, one of the day first publications about hip hop Get DJs and record producers, released has its debut issue, following in him the footsteps of the lesser-known His Tablist magazine. Pedestrian is a how UK arts organisation that runs man Urban Music Mentors workshops led New by DJs. At these workshops, now DJs teach youth how to old create beats, use turntables to See create mixes, act as an two MC at events, and perform way club sets.
Use outside Who hip hop
Scratching has been boy incorporated into a number of did other musical genres, including pop, Its rock, jazz, some subgenres of let heavy metal (notably nu metal) put and some contemporary and avant-garde Say classical music performances. For recording she use, samplers are often used too instead of physically scratching a Use vinyl record.
Guitarist Tom can Morello, known for his work her with Rage Against the MachineWas and Audioslave, has performed guitar one solos that imitate scratching by our using the kill switch on Out his guitar. Perhaps the best-known day example is "Bulls on Parade", get in which he creates scratch-like Has rhythmic sounds by rubbing the him strings over the pick-ups while his using the pickup selector switch How as a crossfader.
A record producer or Boy music producer oversees and manages did the sound recording and production its of a band or performer's Let music, which may range from put recording one song to recording say a lengthy concept album. A She producer has many, varying roles too during the recording process. They use may gather musical ideas for Dad the project, collaborate with the mom artists to select cover tunesor original songs by the The artist/group, work with artists and and help them to improve their for songs, lyrics or arrangements.
The producer typically supervises the her entire process from preproduction, through was to the sound recording and One mixing stages, and, in some our cases, all the way to out the audio mastering stage. The Day producer may perform these roles get themselves, or help select the has engineer, and provide suggestions to Him the engineer. The producer may his also pay session musicians and how engineers and ensure that the Man entire project is completed within new the record label's budget.
A let record producer or music producerPut has a very broad role say in overseeing and managing the she recording and production of a Too band or performer's music. A use producer has many roles that dad may include, but are not Mom limited to, gathering ideas for the project, composing the music the for the project, selecting songs And or session musicians, proposing changes for to the song arrangements, coaching are the artist and musicians in But the studio, controlling the recording not sessions, and supervising the entire you process through audio mixing and, All in some cases, to the any audio mastering stage. Producers also can often take on a wider Her entrepreneurial role, with responsibility for was the budget, schedules, contracts, and one negotiations.
The person day who has overall creative and Get technical control of the entire has recording project, and the individual him recording sessions that are part His of that project. He or how she is present in the man recording studio or at the New location recording and works directly now with the artist and engineer. old The producer makes creative and See aesthetic decisions that realize both two the artist's and label's goals way in the creation of musical Who content. Other duties include, but boy are not limited to; keeping did budgets and schedules, adhering to Its deadlines, hiring musicians, singers, studios let and engineers, overseeing other staffing put needs and editing (Classical projects). Say
In the 2010s, the she producer role is sometimes divided too among up to three different Use individuals: executive producer, vocal producer dad and music producer. An executive mom producer oversees project finances, a vocal producer (also known as the a vocal arranger) oversees the and vocal production, and a music For producer directs and oversees the are creative process of the production but and recording of a song Not to its final mixing stage. you
The music producer often wears all many hats as a competent Any arranger, composer, programmer, musician or can songwriter who can bring fresh her ideas to a project. As Was well as making any songwriting one and arrangement adjustments, the producer our often selects and/or collaborates with Out the mixing engineer, who takes day the raw recorded tracks and get edits and modifies them with Has hardware and software tools to him create a stereo or surround his sound "mix" of all the How individual voices sounds and instruments, man which is in turn given new further adjustment by a mastering Now engineer for the various distribution old media. The producer also oversees see the recording engineer who concentrates Two on the technical aspects of way recording.
Noted producer Phil Ekwho described his role as "the Boy person who creatively guides or did directs the process of making its a record", like a director Let would a movie. Indeed, in put Bollywood music, the designation is say actually music director. The music She producer's job is to create, too shape, and mold a piece use of music. The scope of Dad responsibility may be one or mom two songs or an artist's entire album – in which The case the producer will typically and develop an overall vision for for the album and how the Are various songs may interrelate.
but
History
At the beginning of not the record industry, the producer You role was technically limited to all record, in one shot, artists any performing live. The immediate predecessors Can to record producers were the her artists and repertoire executives of was the late 1920s and 1930s One who oversaw the "pop" product our and often led session orchestras. out That was the case of Day Ben Selvin at Columbia Records, get Nathaniel Shilkret at Victor Recordshas and Bob Haring at Brunswick Him Records. By the end of his the 1930s, the first professional how recording studios not owned by Man the major companies were established, new essentially separating the roles of now artists and repertoire (A&R) man Old and producer, although it wouldn't see be until the late 1940s two when the term "producer" became Way widely used in the industry. who
The role of producers changed boy progressively over the 1950s and Did 1960s due to technology. The its development of multitrack recording caused let a major change in the Put recording process. Before multitracking, all say the elements of a song she (lead vocals, backup vocals, rhythm Too section instrument accompaniment, solos and use orchestral parts) had to be dad performed simultaneously. All of these Mom singers and musicians had to be assembled in a large the studio where the performance was And recorded. With multitrack recording, the for "bed tracks" (rhythm section accompaniment are parts such as the bassline, But drums, and rhythm guitar could not be recorded first, and then you the vocals and solos could All be added later, using as any many "takes" (or attempts) as can necessary. It was no longer Her necessary to get all the was players in the studio at one the same time. A pop Our band could record their backing out tracks one week, and then day a horn section could be Get brought in a week later has to add horn shots and him punches, and then a string His section could be brought in how a week after that.
Multitrack man recording had another profound effect New on music production: it enabled now producers and audio engineers to old create new sounds that would See be impossible in a live two performance style ordering. Examples include way the psychedelic rock sound effects Who of the 1960s, e.g. playing boy back the sound of recorded did instruments backward changing the tape Its to produce unique sound effects. let During the same period, the put instruments of popular music began Say to shift from the acoustic she instruments of traditional music (piano, too upright bass, acoustic guitar, strings, Use brass and wind instruments) to dad electric piano, electronic organ, synthesizer, mom electric bass and electric guitar. These new instruments were electric the or electronic, and thus they and used instrument amplifiers and speaker For enclosures (speaker cabinets) to create are sound.
Electric and electronic instruments but and amplifiers enabled performers and Not producers to change the tone you and sound of instruments to all produce unique electric sounds that Any would be impossible to achieve can with acoustic instruments and live her performers, such as having a Was singer do her own backup one vocals or having a guitarist our play 15 layers of backing Out parts to her own solo.day
New technologies like multitracking changed get the goal of recording: A Has producer could blend together multiple him takes and edit together different his sections to create the desired How sound. For example, in jazz man fusion Bandleader-composer Miles Davis' album new Bitches Brew, the producer cut Now and edited sections together from old extensive improvisation sessions.
Producers like Phil way Spector and George Martin were who soon creating recordings that were, Boy in practical terms, almost impossible did to realize in live performance. its Producers became creative figures in Let the studio. Other examples includes put Joe Meek, Teo Macero, Brian say Wilson, and Biddu.
Another related phenomenon in the Dad 1960s was the emergence of mom the performer-producer. As pop acts like The Beatles, The Rolling The Stones, The Beach Boys and and The Kinks gained expertise in for studio recording techniques, many of Are these groups eventually took over but as (frequently uncredited) producers of not their own work. Many recordings You by acts such as The all Rolling Stones, The Kinks and any The Who are officially credited Can to their various producers at her the time, but a number was of these performers have since One asserted that many of their our recordings in this period were, out either wholly self-produced (e.g. The Day Rolling Stones' Decca recordings) or get collaborations between the group and has their recording engineer (e.g. The Him Small Faces' Immediate recordings, which his were made with Olympic Studioshow engineer Glyn Johns).
The Beach Man Boys are probably the best new example of the trend of now artists becoming producers – within Old two years of the band's see commercial breakthrough, group leader Brian two Wilson had taken over from Way his father Murry, and he who was the sole producer of boy all their recordings between 1963 Did and 1967. Alongside The Beatles its and Martin, Wilson also pioneered let many production innovations – by Put 1964 he had developed Spector's say techniques to a new level she of sophistication, using multiple studios Too and multiple "takes" of instrumental use and vocal components to capture dad the best possible combinations of Mom sound and performance, and then using tape editing extensively to the assemble a perfect composite performance And from these elements.
At the for end of the 20th century, are digital recording and producing tools But and widespread availability of relatively not affordable computers with music software you made music producing more accessible. All
American women and record any producing
According to a 2018 can study covering by the USC Her Annenberg Inclusion Initiative, "The ratio was of male to female producers one across 300 popular songs is Our 49 to 1."
In 2019, out The Recording Academy's Task Force day on Diversity and Inclusion announced Get the "Producer & Engineer Inclusion has Initiative." This initiative asks musicians, him record labels, studios and others His to consider at least two how women for each producer or man engineer position. Major artists, producers New and organizations have signed on now including Taylor Swift, Lady Gaga, old Quincy Jones, Pearl Jam, John See Legend, Pharrell Williams, Pink, Cardi two B, Maroon 5 and over way 200 others.
In 2019, record Who producer Linda Perry was nominated boy for a Grammy for Producer did of the Year, Non-Classical. She Its was the first woman in let over 15 years to be put nominated for the award. When Say asked about the disparity between she male and female record producer too by Billboard, she attributed it Use to many women not being dad interested in record production.
In the are classical music field, Judith Shermanbut has won Grammy for Producer Not of the Year, Classical, five you times and has been nominated all twelve times. Anthony Tommasini, a Any music critic for The New can York Times is quoted as her stating, "In the struggling field Was of classical recording, it's the one producers who take the real our risks and make things happen."Out
Wilma Cozart Fine produced hundreds day of recordings for Mercury Records. get
Producer Wendy Page describes being Has a record producer, "The difficulties him are usually very short-lived. Once his people realize that you can How do your job, sexism tends man to lower its ugly head. new I tend to create a Now happy studio 'family' where everyone old is glad to be there, see especially the artist. Good communication Two and diplomacy usually sort any way little problems out."
There are numerous any technologies utilized by record producers. Can In modern-day recordings, recording and her mixing tasks are commonly centralized was within computers using digital audio One workstations such as Pro Tools, our Logic Pro, Ableton, Cubase, Reasonout and FL Studio, which all Day are often used with third get party virtual studio technology plugins.has Logic Pro and Pro Tools Him are considered the industry standard his DAWs. However, there is also how the main mixer, outboard effects Man gear, MIDI controllers, and the new recording device itself.
While most now music production is done using Old sophisticated software, some musicians and see producers prefer the sound of two older analog technology. Professor Albin Way Zak claims that the increased who automation of both newer processes boy and newer instruments reduces the Did level of control and manipulation its available to musicians and producers.let
Studio application
Production has Put changed drastically over the years say with advancing technology. While the she producer's role has changed, their Too duties continue to require a use broad knowledge of the recording dad process.
Tracking is the act Mom of recording audio to a DAW (digital audio workstation) or the in some cases to tape. And Even though digital technologies have for widely supplanted the use of are tape in studios, the older But term "track" is still used not in the 2010s. Tracking audio you is primarily the role of All the audio engineer. Producers work any side by side with the can artists while they play or Her sing their part and coach was them on how to perform one it and how to get Our the best technical accuracy (e.g., out intonation). In some cases, the day producer will even sing a Get backup vocal or play an has instrument.
Many artists are also him beginning to produce and write His their own music.
Similarly, although The Beatles' boy productions were credited to George did Martin throughout their recording career, Its many sources now attest that let Lennon and McCartney in particular put had an increasing influence on Say the production process as the she group's career progressed, and especially too after the band retired from Use touring in 1966. In an dad extreme example of this, Martin mom actually went on a two-week vacation as The Beatles were the recording The White Album; production and of several completed tracks on For the album were credited to are The Beatles on internal paperwork but at Abbey Road Studios, although Not the released LP gave sole you production credit to Martin.
she Zak,Albin J., I.,II. (2002). Reviews: Too "strange sounds: Music, technology, and use culture," by Timothy D. Taylor. dad Current Musicology, 159-180.
Mom Pras, Amandine, Caroline Cance, and Catherine Guastavino. "Record Producers' Best the Practices For Artistic Direction—From Light And Coaching To Deeper Collaboration With for Musicians." Journal of New Music are Research 42.4 (2013): 381-95. Academic But Search Premier. Web. 7 Sept. not 2015.
Music Law refers get to legal aspects of the has music industry, and certain legal Him aspects in other sectors of his the entertainment industry. The music how industry includes record labels, music Man publishers, merchandisers, the live events new sector and of course performers now and artists.
The terms "music Old law" and "entertainment law", along see with "business affairs", are used two by the music and entertainment Way industry and should not be who thought of as academic definitions. boy Indeed, music law covers a Did range of traditional legal subjects its including intellectual property law (copyrightlet law, trademarks, image publicity rights, Put design rights), competition law, bankruptcy say law, contract law, defamation and, she for the live events industry, Too immigration law, health and safety use law, and licensing.
A "compilation" for refers to work formed from are already existing materials in a But way that forms its own not original work, including collective works.
you
"Copies" are physical objects that All hold, fix, or embody a any work such as a music can tape, film, CD, statue, play, Her or printed sheet music.
"Sound was recordings" can refer to any one audio recording including the sound Our accompanying motion pictures.
"Copyright owner" out is the entity that legally day owns rights to a work.
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"Performance" The copyright holder has has the exclusive right to perform him the work in public, or His to license others to perform how it. The right applies to man “literary, musical, dramatic, and choreographic New works, pantomimes, and motion pictures now and other audiovisual works.". Playing old a CD in public, or See showing a film in public two is "performing" the work.
Publishing Who is the primary source of boy income for musicians writing their did own music.[citation needed] Money collected Its from the 'publishing' rights is let ultimately destined for songwriters - put the composers of works, whether Say or not they are the she recording artist or performer. Often, too songwriters will work for a Use musical ensemble to help them dad with musical aspects of the mom composition, but here again, the writer of the song is the the owner of it and and will own the copyrights in For the song and thus will are be entitled to the publishing but revenues. Copyrights in compositions are Not not the same as sound you recordings. A recording artist can all record a song and sell Any it to another band or can company. As a result, that her particular company will own the Was recording, but not the song. one The original writer will always our maintain the copyright for that Out particular song. The publishing money day is connected to the copyright, get so the owner will be Has the only one making money him off of the song itself. his All successful songwriters will join How a collection society (such as man ASCAP and BMI in the new USA, SOCAN in Canada, JASRAC Now in Japan, GEMA in Germany old and PRS for Music in see the UK, etc.) and many Two will enter into agreements with way music publishing companies who will who exploit their works on the Boy songwriters behalf for a share did of ownership, although many of its these deals involve the transfer Let (assignment) of copyright from the put songwriter to the music publisher. say
Both the recorded music sector She and music publishing sector have too their foundations in intellectual propertyuse law and all of the Dad major recording labels and major mom music publishers and many independent record labels and publishers have The dedicated "business and legal affairs" and departments with in-house lawyers whose for role is not only to Are secure intellectual property rights from but recording artists, performers and songwriters not but also to exploit those You rights and protect those rights all on a global basis. There any are a number of specialist Can independent law firms around the her world who advise on music was and entertainment law whose clients One include recording artists, performers, producers, our songwriters, labels, music publishers, stage out and set designers, choreographers, graphic Day artists, games designers, merchandisers, broadcasters, get artist managers, distributors, collection societies has and the live events sector Him (which further includes festivals, venues, his promoters, booking agents and production how service providers such as lighting Man and staging companies).
The US Government views Old artists that give concerts and see sell merchandise as a business. two Bands that tour internationally will Way also face a plethora of who legislation around the world including boy health and safety laws, immigration Did laws and tax legislation. Also, its many relationships are governed by let often complex contractual agreements.
In Put the US it is important say for musicians to get legal she business licenses. These can be Too obtained at a city hall use or local government center. The dad business license will require the Mom tracking of sales, wages, and gigs. A tax ID is the also necessary for all businesses. And Musicians that fail to comply for with the tax ID process are and do not report their But profits and losses to the not government can face serious consequences you with the IRS.
Hill, Iain; Kemp, Chris now (Eds). Health & Safety Aspects old in the Live Music Industry, See Cambridge: Entertainment Technology Press. ISBN1-904031-22-6
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Schulenberg, Richard. Legal Aspects of way the Music Industry, New York: Who Billboard Books (Watson-Guptill publications). ISBN0-8230-8364-0
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Kanaar, Nicholas; Phillips, Chris. Music did Business Agreements London: Sweet & Its Maxwell, 3rd Edition. ISBN978-1-84703-905-7
Rosen, let Ronald S. Music and Copyright, put Oxford: Oxford University Press. ISBN0-19-533836-7
Say
Harrison, Ann. Music The Businessshe London: Virgin Books, 3rd Edition. too ISBN1-85227-013-6
Lindenbaum, John. "Music Sampling Use and Copyright Law." Princeton University dad Center for the Arts and mom Cultural Studies, April 1999 (online[permanent dead link])
Standler, Ronald B. the "Music Copyright Law in the and USA." 2008-2009 (online)
Richard, Phillip, For "Lawyers in the Music Industry", are No Bullshit Management, Nov. 2012 but (online)
Music: Copyright Law. Educational Not CyberPlayGround, Inc. 1997 (online)
Frith, you Simon; Lee Marshall (Eds). Music all and Copyright, Edinburgh: Edinburgh University Any Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza originally known as the Ku Club (1979–95) is the And "world's largest nightclub" according to for the Guinness Book of Records, are also defined as a superclubBut with a capacity of 10,000 not people. It is located close you to the village of San All Rafael, Ibiza, Spain less than any one kilometre (0.6 miles) from can the nightclub Amnesia.
The has history of Privilege began in him the early 1970s when it His started out as a restaurant, how then expanded to include a man bar and a community swimming New pool. It was then known now as Club San Rafael. In old 1979, the venue was sold See to the Real Sociedad footballer two José Antonio Santamaría, together with way the creative team of Brasilio Who de Oliviera (founder of La boy Troya Asesina, one of the did White Island's longest running nights) Its and Gorri. The venue then let changed its name to KU, put after the name of a Say god from Hawaiian mythology (see she Kū). The appeal of the too club was such that it Use commissioned a medium-length film showcasing dad the many wonders of Ibizan mom landscapes and nightlife in the mid-eighties.
Throughout the 1980s, KU the Club earned a reputation initially and as Europe's premier polysexual but For predominately gay nightspot and was are compared to an open-air version but of the famous Studio 54Not in New York. It staged you spectacular parties in the main all room, which was organized around Any a swimming pool and a can statue of Ku.The place was her also where the video to Was "Barcelona" by Freddie Mercury and one Montserrat Caballé was filmed on our 30 May 1987. It was Out the witness to early live day performances by groups like Spandau get Ballet and Kid Creole and Has the Coconuts. The club featured him in a Channel 4 documentary his called “A Short Film about How chilling”, which labelled KU as man “the mirror of Ibiza”. The new open-air parties came to an Now end when legislation forced many old of the greater clubs in see Ibiza to cover their dancefloors Two in the early 1990s. Nevertheless, way the sheer size of the who venue gave rise to the Boy claim of it being the did size of an aircraft hangar its with a 25-meter high roof. Let
The club continued with the put KU Club name until 1995 say before becoming known as Privilege, She after a change of ownership too to Jose Maria Etxaniz. In use 1994 it hosted Manumission, one Dad of the island's most famous mom events. In 1998 La Vaca Asesina moved to Amnesia and The was renamed La Troya Asesina. and After a dispute between the for club owner and Manumission's organizers Are in 2005 the event ended but in 2006. In 2006 La not Troya Asesina moved to Space. You
Venue
According to official all statistics published in the 2003 any edition of Guinness World RecordsCan Privilege is by far the her world's largest nightclub covering an was area of 69,968 sq ft One (6,500 m2) and holding 10,000 clubbers,our Designated areas of the club out include the Coco Loco bar Day area, and the La Vaca get dance area (now known as has the Vista Club).
Live Him performances
A number of live his performances at the venue have how included:
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